we're going to see for the next 20 years. >> you want answers. >> i want the truth. >> you can't handle the truth. ♪ ♪ ♪

♪ ♪ robinson, apparently tired, punched fairly well and rocked jake right to his heels. >> come on, ray.

>> a director and actor finds a story at the right time in the right place. and out comes this amazing combination of cinematic virility and absolute fear. it's like watching an animal. >> "raging bull" is a great title. the film fulfills the promise. the reality of the boxing and the great slow motion, all of the black and white gore, the violence of the flush bulbs going off. when he designed the movie, marty, he purposefully didn't put a clutch on the film. there's no clutch. >> hey, ray, you never went down, ray. you never got me down, ray. >> it's a boxing movie for people who don't like boxing. it's not about that. it's about this man who was

based on a real person who is really at war with himself. >> come on. harder. harder. >> i didn't really understand boxing, but the character was interesting. he was just so contraire, as they say. he was just so difficult. >> what are you trying to prove? what does it prove? >> bob de niro, he is not afraid of the negative characters, he's not afraid to go to, as i say, those places. [ applause ] >> i was down to 152. in my prime. and then i went up to 212. so i gained 60 pounds. that's not easy, though. the first 15 pounds is fun, then it's drudgery. >> go get 'em, champ. >> it's absolutely true that the

movies of 1980 look like movies of the 1970s. very personal, very passionate filmmaking rules. and then you had ordinary people which was the movie that defeated "raging bull" for best picture in 1980. this incredibly precise and very emotional study of a family in deep crisis. >> calvin, give me the camera. >> i didn't get it yet. >> dad, give her the camera. >> i want a really good picture of the two of you. >> but i really want to get a shot of the three of you men. give me the camera, kell vin, please. >> not until i get a picture of the two of you. hang on a second. >> give her the god damn camera. >> "ordinary people" centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. i would like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script. i said, look, i could see you playing this. she was drawn to it. and that really hit me because that told me that there is some part of herself that she was willing so expose that has not been exposed before and she wanted that chance. and so she was given that

chance. and she did a great job. >> kelvin? >> in that moment where mary tyler moore comes downstairs and she asks her husband what's wrong. >> i don't know if i love you anymore. >> she goes upstairs and she's just -- there's something so moving to me about somebody who is so deeply repressed cracking open. >> that's where the dam breaks. she gets hit by some truth that she can't articulate. she's so taken aback, she can't adjust, she can't take it in. that's what that moment was about. >> then you look at some of these films of the 1980s like "ordinary people" and like "blue velvet," those films are explicitly about how things look are not the way they really are. you have to understand this was when ronald reagan became president and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed, but as the public pronouncement is we're

good again, our movies are telling us, no, we're not. no, we are not. >> wendy, i'm home. >> i play this game. all your favorite filmmakers alive or dead were opening a movie on the same day, which movie would you see first? and for me it would be stanley cooper because you're going to see something you never saw before, and he did that in, think about it, every genre. he's going to make a horror movie, it's going to be the horror movie done in a way that you would not expect. >> to me "the shining" isn't about horror, it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> he creates a pacing where it overtakes the way you're breathing and you're existing and you're in there. in all films, he controls you.

>> steady cam work in "the shining" broke new ground. the steady cam gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't have to see his face, you're behind it. which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> was betting $40 million on its new movie "heaven's gate," but after two years of preparation and eight months of production, the motion picture has been yanked from american theaters after only one day. >> "heaven's gate" took almost a year to complete.

the director's whose "deer hunter" film was a great success got a free hand. his producer said he was out of control. the result, a 3 1/2-hour bomb. >> "heaven's gate" is a stake through the heart in hollywood. it's the cautionary tale that's all about to say, no, no, the studio's going to step in here and this is not going to be another "heaven's gate" and that's how you get the movies of the 1980s. ♪ >> you knew where you were when you first saw "the empire strikes back." because it was the "star wars" movie that took the whole thing to a whole another level -- "star wars" was huge but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way you hadn't in the previous film. where there is this budding romance going on between han solo and princess leia. >> i love you. >> i know. >> luke is transitioning into

wanting to become a jedi knight. >> i saw that as this is the good act because in classical dramatic philosophy, you set the thing up in the first act, in the second act your heros are put in a position that is unresolvable. they're put in enormous jeopardy. you don't know how it's going to work out. and that is always the most interesting part of the story to tell. >> obi-wan never told you what happened to your father. >> he told me enough. he told me you killed him. >> when we actually started work, it was just me and george in the office, and george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit! >> no! >> and it was about fathers and sons, about good and evil

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four of the biggest. moneymaking films of recent times have come from two young gifted filmmakers, george lucas and steven spielberg. they're friends as well, so it was inevitable those two would join talents and they now have in an adventure film to be released this week. >> george says, i have something called "raiders of the lost ark." it's just an idea i have for a movie. he told me this idea about this sort of marauding archeologist adventurer with the hat and the whip and i committed to the movie based on one line george told me. larry, george and i sat around for three days and basically made up the story from beginning to end. >> there's a line in "raiders" that means a lot to me. in the beginning of an action sequence, they've lost control of the ark of the covenant and indy says, no, i'm going to get it back. and his friend says, how are you going to do it? >> i don't know. i'm making this up as i go. >> that, to me, was what life was like. we just make it up as we go. indiana jones is very good at that. >> we came up with an idea, like a truck chase. and then we figured, well, how do we get the truck chase in the movie? so we had these big kind of subjects, and then we kind of reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. even when they're moving very fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of

details big and small. there's always the action that the audience can see but the characters can't see. so the audience is aware that not only is indi maybe going to get beaten to death by this enormous nazi, but also, the whole thing might blow up. >> you wonder why your blood gets up when you watch them. it's craftsmanship and art. ♪ >> everybody in this town is talking about steven spielberg's latest film, "et." i was there at 12:00 noon today and there were literally thousands of people in the street waiting to get in. >> the wait is hours long in chicago, days long in los angeles. >> "et" has become the movie industry's biggest money maker ever. >> i had this story i was going to write about how the divorce between my mom and dad affected me and my three sisters, and so i combined that with one about an alien who himself is divorced from his own species and is lost 3 million light years from home. >> i don't like his feet. >> can you imagine if that film didn't have those kids, every one of them, henry thomas, drew barrymore, robert macnaughton? that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids had fallen in love with et, and i like to

think that et had fallen in love with all of them. and that good-bye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies, they're big blockbusters, but they are personal stories. they are small stories told against a giant canvas. >> they're here. >> in the 1980s, i really felt that i was speaking to myself. loving escapism. >> "poltergeist" was about all the things that scared me. i had a tree out my window as a kid. it used to scare the hell out of me. so what happens in "poltergeist?" the tree comes in the window and grabs the kid. i made stories about kids opposite one final adventure, "the goonies" going on an adventure to save their parents' homes, gremlins tearing up the town. just loving stories that were bizarre.

>> everybody has dreams or thoughts, fantasies of going back in time somewhere. and he put it together for the modern age. >> you're telling me that you built a time machine out of a delorean? >> the way i see it, if you're going to build a time machine into a car, why not do it with some style? >> it's a mystery it was as big a hit as it was when it came out, but the bigger mystery is that it endured for decades. >> saturday night we're sending you back to the future. >> a simple idea which is what would it be like to see your parents when they were younger is something that is obviously multigenerational. >> jeez, you smoke, too? >> you're beginning to sound just like my mother. >> the only thing that was weird about the story, it's a boy going back in time and meeting

his mother and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a big bruise you have there. >> but they pulled it off. >> i was exhausted at the end of "back to the future" and then he makes "who framed roger rabbit." it's like he took "back to the future" and tripled it. >> you're under arrest. >> there's a scene where donald duck and daffy duck are having a piano duel. at the same time penguins are serving drinks. and if you look at the making of of that individual scene, it's utter, complete, total chaos. there's real actors pretending to be drinking. there's trays moving around on these iron rods. >> that was a hard movie. that's a sort of ignorance is bliss category that movie should fall into because that's a movie no sane person would ever attempt to make. >> i love playing villains. i was a kid when the first walt

disney films came out. there are dark moments in each of those that scare the hell out of me, so it's payback. >> remember me, eddie? when i killed your brother, i talked. just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their lives. >> the trick to making that blend of live action animation is that the live action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. >> because it was made before a lot of cgi existed, it was old-school movie-making with physical special effects. "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your

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one of the really great films of the '80s is "the verdict," written by david mammit. beautifully told my master director sydney lamet. paul newman plays a kind of washed up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely lamet is that even when it's movie stars, big movie stars, he manages to bring them down in the case of "the verdict" to the boston streets. you can see the stars in the movie but they have not turned the movie into something glamorous, but the opposite, have entered the drudge and reality of the world lamet's painting. >> i never should have taken it. there's no way i could win. >> newman did what he was asked to do. he was often asked to just be the leading man and be charming and witty and funny. when he does "the verdict," it makes you cry. here newman shows you what he's really made of as an actor.

>> i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principals back together again. >> when you see the scene to call the insurance company to rekindle the deal that he turned down. >> okay. no, i understand. >> it's really one of the greatest pieces of acting i've ever seen in my lifetime, that phone call. no cuts. lamet just goes, okay, here we go. >> so how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling truth. >> "the big chill," it's about these kids who were in college together in the late '60s and are now no longer anti-establishment but actually are part of the establishment and trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is, really, it's an adult film, and it tries to be as complex as life is. >> i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. ♪

♪ i know you wanna leave me but i refuse to let you go ♪ >> i remember when it first came out i thought, well, this will be for this generation, the children of the '60s, this will be very relevant. then i'd meet kids in high school ten years after the movie came out and they said, i love that movie. it's about friendship. it's also about growing up. there is something in its essence that is timeless and universal. >> i'm marrying him tomorrow. i thank god for him getting me out of there. i think if this is your attitude you shouldn't bother showing up at my wedding. >> that's right. i think you're right. the hypocrisy was bothering me, too. >> "terms of endearment" based on a book adapted and directed by james l. brooks, it made you

cry, it made you laugh. it was the stuff of life. >> just a minute. >> shirley mclean plays aurora. gets involved with an astronaut ♪ fly me to the moon, baby >> they just had this incredible comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault, but i'm sorry. >> if you wanted to get me on my back, you just had to ask. >> "terms of endearment" may be the first dramedy, it's a word we hear all the time. a movie that is tragic and funny simultaneously. >> it's time for her shot, you understand? do something. all she has to do was hold on to 10:00 and it's past 10:00. your daughter's in pain. give her the shot. do you understand? >> if you're going to behave -- >> give my daughter the shot! thank you very much. >> james brooks was able to take

humor, tragedy, the best writing delivered beautifully by actors that cared so much. it felt like life, it felt human, it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity before it was cool. >> oh, well, that was a lifetime ago. people change. >> well, i hope you've changed. >> i hope you have, too. >> i hope so for your shake because you're personality left something to be desired, namely a personality. >> you look at woody's career in the '80s, which theoretically should have been past his prime because how can you go on after "manhattan?" wait a minute, there is also "broadway danny rose," there is "purple rose of cairo." >> by the time you get to "crimes and misdemeanors," woody allen has expanded his sensibility.

it's an ensemble piece, it's got some humor in it and it's got some satire in it, but he's not trying to get a laugh every second. >> it's a wonderful moral conundrum from a very original standpoint. i think that's why it stood up. >> you told me over and over again you'd leave merriam. we made plans. >> we didn't. >> i gave up things for you, business opportunities. >> oh, dreams. >> "crimes and misdemeanors" is two parallel stories, one of which is a very traditional woody allen and mia farrow relationship jokefest, and the other one which is a serious examination of literal life and death themes. >> a guy is having an affair, and she's threatening to tell his wife and threatening to disrupt his world, so he has a hit-man kill her. >> he realized, i had a woman killed and i thought i was going to go to hell and nothing happened. with woody, he's constantly getting, you know, shit on by life and he's just doing the right thing.

>> you look very deep in thought. >> i was plotting the perfect murder. >> his writing is very strong for that reason. it always feels like he was thinking about some philosophical truth about human nature and says, oh, i want to write a movie about that. >> i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we can never be friends. >> why not? >> what i'm saying is -- and this is not a come-on in any way, shape or form, is that men and women can't be friends because the sex part always gets in the way. >> nora ephron wrote "when harry met sally" and got a lot of help from reiner writing the neurotic main character, and that's because he was based on rob reiner. >> every scene has to be good. you work and work and work torture yourself rewriting the script. >> i know nora, and i pitched this idea about the dance that people go through to get together after they've both

gotten out of long-term relationships and they become friends, and does sex come into the picture? and if it does, does it ruin the friendship? she said, well, that would be something i'd be interested in. >> he rips off my clothes. >> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12, exactly the same? >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is, listen, you know they're going to be together, so how do you get them there and what's the roadblocks? it's all about the story and it's all about the people. do you care about them? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it never happened to them and most women at one time or another have done it, so you do the math. >> you don't think i can tell the difference? >> no. >> get out of here.

>> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you got crew members. you got extras. people standing around. >> ooh. >> are you okay? >> oh. >> rob says, meg, here's what i want. he proceeds to have an orgasm that mighty joe young would be jealous of. >> yes, yes, oh, god. i'm pounding the table. >> yes! yes! yes! >> and i realize because my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. (vo) the hamsters, run hopelessly in their cage. content on their endless quest, to nowhere. but perhaps this year, a more exhilarating endeavor awaits. defy the laws of human nature,at the summer of audi sales event.

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it's part of a trilogy, really, a musical trilogy that i'm doing in "d" minor, which i always find is really the saddest of all keys, really. i don't know why, but it makes people weep instantly. ♪ >> what do you call this? >> this piece is called "lick my love pump." >> the idea was we were going to do a mock documentary. we were going to make a satire of a rock 'n' roll band on tour. we basically had the tour outline, but essentially it was a very, you know, thin thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bird. get the dwarf cannolis, the little ones.

>> i did the bird. >> don't talk back. >> mime is money. come on. move it. >> you had all these brilliant performances by all of them and then rob put it all together and made it sing. >> people didn't know what we were doing. they cut it was a real documentary. when we first previewed it, they said why would you make a movie about a band that nobody ever heard of and one that's so bad? ♪ working on a sex farm ♪ plowing through your field >> let's say you look at a prospective movie and it's a square, rob reiner has a way of turning it sideways, looking at it differently and finding a way to enjoy it in a completely nonconventional way. >> he didn't fall? >> inconceivable. >> you keep using that word, i do not think it means that you think it means. >> "the princess bride" is a blend between romance, satire, adventure, swash buckling, i mean, it's all mixed in and it's

a very strange mixture hard to capture. >> wesley, what about the r.o.u.s.s? >> rodents of unusual size? i don't think they exist. >> you have to walk a balance, you know? it's a fine line between stupid and clever. >> beat it or i'll call the brute squad. >> i'm on the brute squad. >> you are the brute squad. >> rob is a phenomenal director. his first movies one after another, beauties, and took risks in different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane" or "the naked gun." you had ensemble comedies like "police academy," imports like "crocodile dundee," which was an amazing hit and "three men and a baby." the other is the rise of influence of "saturday night

live" on film. >> there's 106 miles to chicago, we got a full tank of gas, half a pack of cigarettes, it's dark and we're wearing sunglasses. >> hit it. >> john belushi and dan aykroyd, they made up these characters with the hat and dark glasses. they did "the blues brothers" on "saturday night live" and got a huge response so we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, oh, this is where you're going to get your quality comedy, so then you wanted to start seeing those people in movies. >> i tell you what, i'm going to clean this up. >> you go ahead and clean up a little bit. looks fine to me. thanks for the dope. >> comedy is such a precious commodity. when you shake the pan looking for the nuggets, when they shine out like that, then you love them forever. people who understood how to be funny, they can be funny anywhere. ♪ if there's something strange in the neighborhood ♪ ♪ who you gonna call? ♪ ghostbusters >> "ghostbusters" is a rare film

because it combined sci-fi, action, and comedy. >> well, there's something you don't see every day. >> "ghostbusters" was written by dan aykroyd. on paper it shouldn't work. but it does work because you have rick moranis and they're flawless. >> we've been going about this all wrong. this mr. stay puff is okay. he's a sailor. he's in new york. we get this guy laid, we won't have any trouble. >> bill's always explored what it means to escape sort of the constraints of convention. you feel in some way that you want to be as liberated as he is. ♪ ghostbusters >> instead of worshipping musicians, now we're worshipping these stand-up comedians and there is this idea comedy in the '80s is going to be the new rock 'n' roll. >> all right. listen up, i don't like white

people, i hate rednecks, you people are rednecks. that means i'm enjoying this shit. >> you got to remember when eddie murphy starts with "48 hours," he's 20 years old. then he does "trading places." then he does the blockbuster "beverly hills cop." >> eddie murphy in the '80s was comedy. he's the perfect every man and he's likeable even though he's kind of a shit. >> it's about being the guy smartest in the room. he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in in my life. this thing's nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in "coming to america," their color has nothing to do with the plot. >> oha, it is my 21st birthday. do you think just perhaps i might once use the bathroom by myself?

>> most amusing, sir. wipers. [ clapping ] >> he is a prince in a fictional african nation and he decides he and his best friend played by arsenio hall are going to america so he can find himself a queen. if you want a queen, where do you go? you go to queens, new york. it's got to be full of queens, right? >> everybody who's seen "coming to america" embraced the money. the movie is funny as hell. i think it's eddie murphy at his best. >> everyone is so lovely. >> the one white person is actually played by eddie murphy. >> what about rocky marciano. >> oh, there they go. there they go. every time i start talking about boxing, a white man got to pull rocky marciano out their ass. >> who's the star of the picture? >> this young guy named eddie murphy, i think.

>> oh, christ, i hate him. the kid with the filthy mouth? >> yeah, he's the one. >> oh, he's the worst. >> he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? >> what do you know from funny, >> what do you know from funny, you bastard? family, starting with unlimited data. use as much as you want, when you want. and if you like netflix, it's included on us. plus no surprises on your bill. taxes and fees are included. and now for a limited time, with each new line, get one of our latest smartphones included. that's right, only $40/line for four lines and smartphones are included for the whole family.

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there was that underlying fear that could collapse at some point. you saw that play out in this post-apocalyptic subgenre of action films. >> two days ago i saw a vehicle that would haul that tanker. you want to get out of here? you talk to me. >> george miller's movies do an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch "the road warrior" and thinking, like, i'd love to go there. i think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything. but then there's the filmmaking craft. to see those stunts just play out in long shots, just

absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock 'n' roll movie. ♪ >> "brazil" is one of these futures that seem all too likely to come to past. it's a future where things don't work. where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're going to end up there. >> dammit, lorrie, the personnel carries is still unaccounted for. i told you to deal with it. what the hell is this mess? an empty desk is an efficient desk. >> terry gilliam's visibility sensibility is so distinctive, there was an audacity to that movie that you rarely see. >> it arouses a strong reaction from people. i think that's what cinema should be about. it's exciting. it's stimulating. it makes us think.

i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on phillip cade dix novel, in and of itself, and the essential question of the in and of itself is, what's the difference between humans and nonhumans? is harrison ford a human? can you fall in love with an android? >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at

and you just soak it? >> everyone said why do you want to be a knight? that's [ bleep ] because i wanted. >> harrison ford thougcek or wh he produced a whole horse. >> the whole point of leaveling that undram, that nod is in the scene. this is correct. nobody knows about my most private dreams about unicorns.

>> james cameron's "aliens" the perfect sequel, because it doesn't just repeat the first film. it takes elements of the first one, builds upon them, but then makes it into a different genre. >> that's inside the room. >> right, man, look. >> you're not reading it right. five meters, man. four -- what the hell. >> jim is a real innovator and real artist. i didn't -- he said, you know, it's hard to do two, because you've shown him. the alien. i'm going more military. >> ah! >> you feel like james cameron doesn't get enough credit as a screenwriter as well. "aliens" a template how to write a great blockbuster. >> my mommy always said there were no monsters, not real ones, but there are.

>> yes, there are. >> back in those days, women weren't really permitted to be strong. so sigourney really broke the mold in the "alien" movies and one of the ways cameron let her figure out how to be as tough as she was, because she was protecting her adopted child. >> there's real skill to building the perfect roller coaster. "aliens" is example number one of ow brilliant action cinema can be. >> get away from her, you bitch! >> get away from her, you bitch! ♪ we know their rates are good, we know that they're always going to take care of us. it was an instant savings and i should have changed a long time ago. we're the tenney's and we're usaa members for life. call usaa to start saving on insurance today. don't worry. travelocity is there for you with 24/7 customer service. now, if your flight runs out of those mini bottles? then, you can worry.

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bunnies, as a matter of fact. >> glenn close's legacy is forever tied to this film and she's an incredible actress. >> what am i supposed to do? you won't answer my calls you change your number. i'm not going to be ignored, dan. >> in the original script, audience sympathies were more evenly balanced between the male character and the female character, but with each iteration, they made her such an extreme character. the original ending was that she was supposed to cut her own throat, but that did not satisfy test audiences. so they had the good wife kill the bad single woman. >> ah, that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition and a damn pretty one, too, if i might add. >> thank you, sir. >> i mean that. you should see some of the crones that have been coming through here lately. right, violet?

>> "nine to five" an idea of women coming together and being like, yes, my life has been ruined by egotistical bigoted men trying to hold me back. >> coffee, violet. now. >> this is when women were going into the workforce but they were still secretaries. they were still the subservient roles they weren't the boss of the company. >> oh. that's -- >> that's all right. i'll get it. >> what about you, dora lee? what's your fantasy for doing him in? >> me? well i think i'd like to just come riding up one day and give him a taste of his own medicine. >> i loved their female comradery, and i loved dolly parton in that movie. she's like -- liquid gold. >> i got a gun out there in my purse and up to now i've been forgiving and forgetting because of the way i was brought up. tell you one thing. if you ever say another word about me or make another

indecent proposal i'm going to get that gun of mine and i'm going to change you from a rooster to a hen with one shot! >> they, in time, realized nothing is ever going to change unless we change it. >> string him up. that male chauvinist sexually inappropriate guy. and they make changes to the work place. be able to share hours. >> it was an important movie then. it's an important movie now. >> working girl is where she secretly was hoping to make her strides. >> not since the movie network that hollywood brilliantly indicted the business of television like it does in "broadcast news." >> how do i look?

>> good. you might want to rethink the jewelry. >> it turns out, it's sigourney weaver. and she has been stealing tess' ideas. >> she went through my desk and has been passing it off as her idea. >> it was my idea. >> the melody griffith idea shows that once she was given the tumt to show how smart he is, she did. >> it's one of the great messages in the world. i'm here, my feet are up because i made it. >> the perfect modern anchor is played by william hurt? how is it the star of the movie is neither the anchorman nor the network correspondent but an actress who many of you will never have seen until now. >> okay, bobbi.

back to 9:56. the sound bite in the alley it starts. why are re going -- please, bobby. we're pushing! >> the first time i had seen on-screen a real female because she was flawed and allowed to be human and different and irascible, difficult. >> shrill, bossy, possibly bitch. there's a lot of words that people used that are pejorative to women that jane craig could kind of inhabit. >> what i love is polly's character, tears streaming down her face and then controlling it, getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> it must be nice to always believe you know better. to always think you're the smartest person in the room.

>> no. it's awful. >> the fact that movie exists and always will is a gift. >> wait. wait, wait, wait, i know we're having an -- >> buying me lunch? >> i hope you -- gregory, this -- ah -- [ coughing ] >> don't -- >> favorite client. >> have i? >> and it was a -- >> in here? swear to god? yes! >> oh, god. i beg you to get therapy. >> "tootsie" updating of the guy in the dress.

taking a believable character and putting him in a fantastic situation. yet the reason is works is because every single thing in that movie could really happen. we show you at the beginning. he's a great actor. he happens to be a pain in the ass and then to prove in-of-to his agent he can get work he puts on a dress. >> it's almost like a play performed enough so that they knew where the gems were. >> don't you find being a woman in the '80s complicated? >> extremely. >> one of the hardest things to do in a comedy is have a comedy climax and all story threads come together at the same moment. >> i am not the daughter of dwayne and alma kimberly. no, i'm not. i'm edward kimberly the reckless brother of my sister anthony. >> ah!

>> the climatic scene in "tootsie," the climax and turn on that one action. >> "tootsie" is what people want movies to be and few filmmakers invest the time and the sweat and the integrity to go all the way. which "tootsie" does. >> that is one nutty oscar. ♪ [laughter] ♪

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"flashdance" was a very big deal. ♪ she's a maniac, maniac on the floor ♪ ♪ and she dances like she's never danced before ♪ >> she was a sexy welder who would take dance night but department take her clothes off. >> what's a dancer working as a welder? >> a girl's got to make a living. >> jennifer beals was amazing. she was beautiful, strong and sexy.

♪ what a feeling >> you can tell the movie was designed with the video in mind. >> let's dance. >> kenny loggins, "footloose," that was a huge hit. you see kenny loggins in that? no. you see dancing against the rules. >> i see kevin taken. >> how cute was he? >> because i had the time oaf my life ♪ ♪ and i never felt this way before ♪ >> you know who was buying these movies as teenagers.

they want to get the soundtrack so they can relive it. >> "purple rain" hit me really hard. to this day, i have yet to see a film that uses music and emotion, in such a unique way. ♪ purple rain what do you care about mark ratner for? he's a 16-year-old rusher at the movie theater. you've dated older guys, you work in the mraall. >> the way that cameron wrote "fast times at ridgemont", is that he could go back. >> i could go back and have the senior year, i didn't have and write about what it means to be

a high school student. i learned so much. the pop culture mrishment. >> i did it when i was 13. >> i did it when i was 13. >> it's no kids sucks. it's an lis sent. >> they're having sex years pfr you know they are having sex. it's fast food and fasted a v e edless vens and i adult. >>s a a lot of incredible people in the movie. phoebe case, and jerer if layson hee. >> he gives the performance that everyone walks out of if literal and says, sean penn, in

particular, if it's written in the script like, awesome, articlely. of all of the words of the '80s. >> what is vaerd. >> could i need is some tasty waves, cool buds and i'm fine. >> i think of myself, overseas were a couple crystal, but i'm wac. >> he god to wac wellson. he said he is going to relax because your daughter will be safe with me. "say anything" is a story about being an apt list. and how that can be a re lucious nair act. sometimes rebelling is against the woman you say you can't move. and you make your life's goal, kerr.

>> watch it out for the dallas. >> thanks. >> it's when lod plays peter gabriel, trying to radio instincts, they return. >> we had a hard time withal the boom box. there's one hoe trags nood as good, the last shot, of "say anything." >> the light is disappearing, shots moving in on cusack. and i see it. i see it through the camera. the anger, the resentment, never, the sane, the access lens is that. >> how the it going?

>> how is what going? >> you know, chris. life is what senate. it's not just jump off the page. >> i remember reading '16 candles. his movies were something to look forward to. you knew you would be entertained. 4 any father will see what i the did. i can't hide this. he'll come home and see what i did anahad to deal with me. >> he has always been deep. even sewell yous weather is the character. but he was an equal haet.

>> i. >> want to track there's been a mish take. i know it's detention, but i don't think i mrong in here. >> "the breakfast sclclub," tel when you're looked in room together. the first 20 minutes is the they is the juan wugs limbs, and not being like that, on my head when done. >> are we still happened? >> yeah.

you want the truth in. >> jae, i the truth. >> you want the truth? i didn't do it. >> it was so powerful. kids were not talking about sark can h the kalg. >> there wsht a lot of teenagers that intitd to a pinch of clean agers. and violence of the flashbulbs going off. when he designed the movie marty purposely didn't put a clutch on

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what is going on here? has america gone mad for the movies? apparently, some of us have. they were buying bat shirts, bat hats, bat anything, and the movie hadn't even opened. >> what's new with tim burton's movie bat emergency man is thatg machine markets it a year in advance. >> i'm seeing a poster out there on the street. it freaks me out. the movie's not done yet. >> for me, "batman" is the root of some of that imagery was more horror than comic books, so i liked that about it. and i like the kind of split personality, nature, the light and the dark.

for me, it was definitely my favorite of all comic book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the '40s. and then all of a sudden there's a car from the '70s. and he's just using everything. >> we were lucky to be there before any super hero -- began. >> it's taken over the movie business. >> you could have predicted some of the big money makers, "batman", "ghostbusters." but who would have thought a movie about racism set in brooklyn would be a national hit. >> mookie! how come your brother's up on the wall. >> into the '80s, there was a

push to have more diversity on-screen. but diversity on-screen doesn't mean diversity behind the camera, and you didn't get a lot of black film makers getting to make films, so you really do need spike lee at that point. >> "do the right thing" is one of the most important films in the history of cinema, certainly, as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off, and you just couldn't believe the things that were being said in that film. they were all under the surface, but they just, they weren't said in that way. >> who's your favorite basketball player? >> magic johnson. >> who's your favorite movie star? >> eddie murphy. >> who's your favorite rock star? >> prince. >> bruce. >> prince. >> bruce! >> all you talk about is nigga this and nigga that. >> it's such a time capsule.

at the same time, its theme's universal. it's funny. >> why don't you move to massachusetts. >> i was born in brooklyn. >> it's creative. it's cultural, it's social. >> stay black. >> it's political. and it has this edge to it. it has this provocation as part of its core. >> get his arm! >> that's enough! >> gary, that's enough, man. >> towards the end of the film, mookie is sort of presented with this choice. a young black man's been murdered. do i retaliate? do i kick off this riot? and he wrestles with it for a split second, and speak says black people don't ask him if mookie did the right thing. >> what mookie represents at the end of that movie is black rage. it was important i think for

spike to say this is where we are. >> not enough people credit the maturity of what he did in terms of posing a question that he then did not answer. lots of people like to make films and button it up, making sure that you feel a certain way about a certain thing, and spike has always been determined to ask you a question. it forces you into confrontation with your only feeling. >> the '80s was a time when so many new film makers got their start. the '80s was an incubator for new voices, new idea. >> seize the day. >> cinema, to me, has always been an escape from whatever my life was at the time. >> what i really love in cinema is just to go and be swept away. it's a different world. >> there's something really special about being in a movie.

you can sit in the back and feel everybody enjoying it. there's something really great about that. >> hey! >> this is why we love movies. we get to see portraits of people and how they deal with whatever the struggle is to be a human being. >> snap out of it! >> '80s was a good period for movies. there were comedies that had to do with real life. weren't over the top. there were dramas that took on tough subjects. genres that hadn't been explored in that way. >> but at the same time, there's just more overload on us. the aesthetic gravitated to bigger, faster and louder. >> it's the only medium where you can present both story and spectacle. only movies can do that. only movies can produce the

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